Livro Veiculo Barco_veleiro_sharpie_ Migrations of an American Boat Type

8/12/2019 Livro Veiculo Barco_veleiro_sharpie_ Migrations of an American Boat Type

1/31

The Project Gutenberg EBook of The Migrations of an American Boat Type, by

Howard I. Chapelle

This eBook is for the use of anyone anywhere at no cost and with

almost no restrictions whatsoever. You may copy it, give it away or

re-use it under the terms of the Project Gutenberg License included

with this eBook or online at www.gutenberg.org

Title: The Migrations of an American Boat Type

Author: Howard I. Chapelle

Release Date: July 1, 2009 [EBook #29285]

Language: English

Character set encoding: ISO-8859-1

*** START OF THIS PROJECT GUTENBERG EBOOK AMERICAN BOAT TYPE ***

Produced by Colin Bell, Woodie4, Joseph Cooper and the

Online Distributed Proofreading Team at http://www.pgdp.net

CONTRIBUTIONS FROMTHE MUSEUM OFHISTORY ANDTECHNOLOGY:PAPER 25

THE MIGRATIONS OFAN AMERICAN BOATTYPE

Howard I. Chapelle

THE NEW HAVEN SHARPIE 136

THE CHESAPEAKE BAY SHARPIE 148

THE NORTH CAROLINA SHARPIE 149

SHARPIES IN OTHER AREAS 151

DOUBLE-ENDED SHARPIES 152
http://www.gutenberg.org/files/29285/29285-h/29285-h.htmhttp://www.gutenberg.org/files/29285/29285-h/29285-h.htmhttp://www.gutenberg.org/files/29285/29285-h/29285-h.htmhttp://www.gutenberg.org/files/29285/29285-h/29285-h.htmhttp://www.gutenberg.org/files/29285/29285-h/29285-h.htm


2/31

MO

T

model of a New Haven sharpie of 1

ERN SHARPIE DEVELOPMENT 154

E MIGRATIONS OF

AN AMERICAN

BOAT TYPE

885, complete with tongs. (_USNM 31802

C._)

by Howard I. Chapelle

FIGURE 1.--Scale

; Smithsonian photo 47033-
http://www.gutenberg.org/files/29285/29285-h/29285-h.htm


3/31

[Pg 135]

The New Haven sharpie, a flat-bottomed sailing skiff, was

originally developed for oyster fishing, about the middle of thelast century.Very economical to build, easy to handle, maneuverable, fast and

seaworthy, the type was soon adapted for fishing along the eastern

and southeastern coasts of the United States and in other areas.

Later, because of its speed, the sharpie became popular for racing

and yachting.This study of the sharpie typeits origin, development and

spreadand the plans and descriptions of various regional types

here presented, grew out of research to provide models for the hall

of marine transportation in the Smithsonian's new Museum of History

and Technology.THE AUTHOR: Howard I. Chapelle is curator of transportation in theU.S. National Museum, Smithsonian Institution.

For a commercial boat to gain widespread popularity and use, it must be suited to a variety of weather and waterconditions and must have some very marked economic advantages over any other boats that might be used inthe same occupation. Although there were more than 200 distinct types of small sailing craft employed in NorthAmerican fisheries and in along-shore occupations during the last 60 years of the 19th century, only rarely wasone of these boat types found to be so well suited to a particular occupation that its use spread to areas at anygreat distance from the original locale.

Those craft that were "production-built," generally rowing boats, were sold along the coast or inland for a

variety of uses, of course. The New England dory, the seine boat, the Connecticut drag boat, and the yawl weresuch production-built boats.

In general, flat-bottomed rowing and sailing craft were the most widely used of the North American boat types.The flat-bottomed hull appeared in two basic forms: the scow, or punt, and the "flatiron," or sharp-bowed skiff.Most scows were box-shaped with raking or curved ends in profile; punts had their sides curved fore and aft inplan and usually had curved ends in profile. The rigs on scows varied with the size of the boat. A small scowmight have a one-mast or two-mast spritsail rig, or might be gaff rigged; a large scow might be sloop rigged orschooner rigged. Flatiron skiffs were sharp-bowed, usually with square, raked transom stern, and their rigsvaried according to their size and to suit the occupation in which they were employed. Many were sloop riggedwith gaff mainsails; others were two-mast, two-sail boats, usually with leg-of-mutton sails, although

occasionally some other kind of sail was used. If a skiff had a two-mast rig, it was commonly called a "sharpie";a sloop-rigged skiff often was known as a "flattie." Both scows and flat-bottomed skiffs existed in Colonialtimes, and both probably originated in Europe. Their simple design permitted construction with relatively littlewaste of materials and labor.

Owing to the extreme simplicity of the majority of scow types, it is usually impossible to determine whetherscows used in different areas were directly related in design and construction. Occasionally, however, a definiterelationship between scow types may be assumed because of certain marked similarities in fitting andconstruction details. The same occasion for doubt exists with regard to the relationships of sharp-bowed skiffsof different areas, with one exceptionthe large, flat-bottomed sailing skiff known as the "sharpie."

[Pg 136]

THE NEW HAVEN SHARPIE


4/31


5/31

New Haven sharpie and dugouts o

The structure of New Haven sharpiframing. The sides were commonlyends to form the sheer. The sides o

those of the smaller sharpies wereplanking of the same thickness as thewater, at the bow and under the stathwartship would be splined. Insideon edge side by side, sawn to the plength of the boat. The middle oneAfore and abaft the slot the keelsousually extended to the stem and tokeelson.

The chines of the sharpie were of oa

inches deep when finished. The chinesides in plan view. The side framesthat the inboard face was 2 inchesgenerally

the Quinnipiac River, New Haven, Conn

century.

es was strong and rather heavy, consistingide plank. Each side had two or three stra

f large sharpies were commonly 1 inches

1 inches thick. The sharpie's bottom wsides and of 6 to 8 inches in width. That parern, was often made of tongue-and-groovethe boat there was a keelson made of threeofile of the bottom, and running about thre

of these three planks was omitted at the cemembers were cross-bolted and spiked.

he stern by flat planks that were scarphed i

planks that were of about the same thickne

logs were sawn to the profile of the bottomere mere cleats, 1 by 3 inches. In the 188wide and the outboard face 3 inches wid

FIGURE 2.A

cticut, about the turn of the

of white pine plank and oakes that were pieced up at thethick before finishing, while

s planked athwartships withof the bottom that cleared theplanking, or else the seamslanks, in lamination, standing

e-fourths to seven-eighths theterboard case to form a slot.he ends of the keelson were

nto the bottom of the built-up

s as the side planks and 4 to 7

and sprung to the sweep of the's these cleats were shaped soe, but later this shaping was

omitted.


6/31

FIGURE 3.

Plan of typical New Haven sharpie showing design and construction characteristics.

FIGURE 4.

Plan of a large Chesapeake Bay sharpie taken from remains of boat.

[Pg 139]

At the fore end of the sharpie's centerboard case there was an edge-bolted bulkhead of solid white pine, 1 or1 inches thick, with scuppers cut in the bottom edge. A step about halfway up in this bulkhead gave easyaccess to the foredeck. In the 1880's that part of the bulkhead above the step was made of vertical staving thatcurved athwartships, but this feature was later eliminated. In the upper portion of the bulkhead there was often asmall rectangular opening for ventilation.

The decking of the sharpie was made of white pine planks 1 inches thick and 7 to 10 inches wide. The stemwas a triangular-sectioned piece of oak measuring 6 by 9 inches before it was finished. The side plank ran past


7/31

the forward edge of the stem and wastemband to which was brazed twoside plank, usually measured or 5/a foot or two. The band also passedthe stem by heating and molding ove

The sharpie's stern was composed of1 inches thick. The outer faces of twas vertical staving that had beenstaving was usually 1 inches thickfalse wale to inch thick and 3 otapered toward the ends. Vertical ststern was usually of stemmed oak.

The cockpit ran from the bulkhead alight joiner bulkhead. A low coamindeck. The boat had a small square

forward bulkhead. A tie rod, 3/8 inforward bulkhead; the ends of the tieThe hull was usually painted white o

Chesapeake Bay sharpie w

The two working masts of a 35-to 36to 5 inches at deck and 1 inches atyards. Instead of booms, sprits wersharpies the sails were hoisted to a s

s mitered to form a sharp cutwater. The mitide plates 3/32 or inch thick. This steminch by inch and it turned under the stemver a stemhead and ran to the deck, havinga pattern.

two horizontal oak frames, one at chine anhese frames were beveled. The planking arapered, hollowed, and shaped to fit the flefore it was finished. The raw edges of the4 inches deep, and by an oak guard strip thving was used to carry the wale around th

the centerboard case to within 4 or 5 feetwas fitted around the cockpit and a finger

atch in the foredeck and two mast holes, o

h in diameter, passed through the hull athrod were "up-set" or headed over clench rigray, and the interior color usually buff or g

ith daggerboard, about 1885. (Photo cour

-foot sharpie were made of spruce or whitehead. Their sail hoists were 28 to 30 feet, an

used; these were set up at the heels withingle-sheave block at the mast heads and

er was covered by a brass barand, which was tacked to the, running under the bottom forbeen shaped over the head of

one at sheer; each was aboutund the stern on these framesre of the stern. This verticaldeck plank were covered by at was half-oval in section andstern. The guard around the

f the stern, where there was arail ran along the sides of thene at the stem and one at the

artships, just forward of thegs on the outside of the wale.ray.[Pg 140]

FIGURE 5.

esy Wirth Munroe.)

ine and had a diameter of 4d the sail spread was about 65tackles to the masts. In mostere fitted with wood or metal


8/31

mast hoops. Because of the use of the sprit and heel tackle, the conventional method of reefing was not possible.The reef bands of the sails were parallel to the masts, and reefing was accomplished by lowering a sail and tyingthe reef points while rehoisting. The mast revolved in tacking in order to prevent binding of the sprit under thetension of the heel tackle. The tenon at the foot of the mast was round, and to the shoulder of the tenon a brassring was nailed or screwed. Another brass ring was fastened around the mast step. These rings acted as bearings

on which the mast could revolve.Because there was no standing rigging and the masts revolved, the sheets could be let go when the boat wasrunning downwind, so that the sails would swing forward. In this way the power of the rig could be reducedwithout the bother of reefing or furling. Sometimes, when the wind was light, tonging was performed while theboat drifted slowly downwind with sails fluttering. The tonger, standing on the side deck or on the stern, couldtong or "nip" oysters from a thin bed without having to pole or row the sharpie.

The unstayed masts of the sharpie were flexible and in heavy weather spilled some wind, relieving the heelingmoment of the sails to some degree. In summer the 35-to 36-foot boats carried both masts, but in winter, or insqually weather, it was usual to leave the mainmast ashore and step the foremast in the hole just forward of thebulkhead at the centerboard case, thereby balancing the rig in relation to the centerboard. New Haven sharpies

usually had excellent balance, and tongers could sail them into a slip, drop the board so that it touched bottom,and, using the large rudders, bring the boats into the wind by spinning them almost within their length. Thiscould be done because there was no skeg. When sharpies[Pg 141]had skegs, as they did in some localities, theywere not so sensitive as the New Haven boats. If a sharpie had a skeg, it was possible to use one sail withoutshifting the mast, but at a great sacrifice in general maneuverability.


9/31

Carolina sh

Kunhardt[5]writing in the mid-1880's,

9 inches to 6 feet wide on the bottoinches at stern. The flare increasedevery 12 inches of depth. The increaabout 4 inches to the foot. Accordincarried about 5 short tons in cargo.

The sharpie usually had its round strake of not less than 45. Although ibecause tonging from it was easier;and was also less likely to ship a seaanchored by the stern,

rpie with one reef in moderate gale, about

(Photo courtesy Wirth Munroe.)

described the New Haven sharpie as being 3

, and with a depth of about 36 inches at sterapidly from the bow toward amidships, we of flare was more gradual toward the ster

g to Kunhardt, a 35-foot sharpie hull weigh

rn carried out quite thin. If the stern was sqcost about $15 more than the transom ster

lso, when the boat was tacked, the round stthan was the square stern. Kunhardt remar

making the ground tackle easi

FIGURE 6.North

1885.

3 to 35 feet long, about 5 feet

, 24 inches amidships, and 12ere it became 3 inches for, where the flare was equal to

ed 2,000 to 2,500 pounds and

uare, the transom was set at a, the round stern was favoredrn did not foul the main sheets that sharpies lay quiet whenr to handle.[Pg 142]
http://www.gutenberg.org/files/29285/29285-h/29285-h.htmhttp://www.gutenberg.org/files/29285/29285-h/29285-h.htm


10/31

FIGURE 7.

Plan of a Chesapeake Bay terrapin smack based on sketches and dimensions given by C. P. Kunhardt in

Small Yachts: Their Design and Construction, Exemplified by the Ruling Types of Modern Practice, New

York, 1886.

FIGURE 8.

Plan of North Carolina sharpie schooner taken from remains of boat.

[Pg 143]


11/31

FIGURE 9.

Plan of North Carolina sharpie of the 1880's.

The cost of the New Haven sharpie was very low. Hall stated that in 1880-1882 oyster sharpies could be builtfor as little as $200, and that large sharpies, 40 feet long, cost less than $400. [6]In 1886 a sharpie with a capacityfor 150 to 175 bushels of oysters cost about $250, including spars and sails. [7]In 1880 it was not uncommon tosee nearly 200 sharpies longside the wharves at Fairhaven, Connecticut, at nightfall.

The speed of the oyster sharpies attracted attention in the 1870's, and in the next decade many yachts were builton sharpie lines, being rigged either as standard sharpies or as sloops, schooners, or yawls.

Oyster tonging sharpies were raced, and often a sharpie of this type was built especially for racing. Oneexample of a racing sharpie had the following dimensions:

Length: 35'

Width on deck: 8'

Flare, to 1' of depth: 4'

Width of stern: 4-1/2'

Depth of stern: 10"

Depth at bow: 36"

Sheer: 14"

Centerboard: 11'

Width of washboardsor sidedecks:

12"

Length of rudder: 6'

Depth of rudder: 1'2"

Height of foremast: 45'

Diameter of foremast: 6"

Head of foremast: 1-1/2"
http://www.gutenberg.org/files/29285/29285-h/29285-h.htmhttp://www.gutenberg.org/files/29285/29285-h/29285-h.htmhttp://www.gutenberg.org/files/29285/29285-h/29285-h.htm


12/31

Height of mainmast: 40'

Diameter of mainmast: 5-1/2"

Head of mainmast: 1-1/2"

The sharpie with the above dimensioplank bowsprit, to the ends of whiccarried a 75-yard foresail, a 60-yardtwo 16-foot planks were run out tofrom

Figure 3 shows a plan of a sharpiemakes evident the very distinct charaand rig.[8] The sharpie representedindicated by the dimensions givensharpie was faster than a wide one, asided sharpie was faster. These boatimportant, that the heel of the stem sto about the fore end of the centerbobefore it passed the after end of thefeature that produced a faster boat by

ns was decked-over 10 feet foreward and 4h were fitted vertical clubs 8 to 10 feet lomainsail, a 30-yard jib, a 40-yard squaresailindward and 11 members of the 12-man cre

North Carolina sharpie under sail.

uilt at the highest point in the developmecter of the sharpie in model, proportion, arra

y the plan is somewhat narrower and hasy Kunhardt. The boatmen at New Havend some preferred strongly flaring sides, thomen also believed that the shape of the boould not be immersed, and that the bottomrd case and then fair in a long sweep into twaterline. Some racing sharpies had deepereducing the amount of bottom camber.

feet aft. She carried a 17-footg. When racing, this sharpie, and a 45-yard main staysail;

sat on them to hold the boatcapsizing.

FIGURE 10.

t of this type boat. This planngement,[Pg 144]construction,more flare in the sides thanere convinced that a narrow

gh others thought the upright- tom camber fore and aft was

hould run aft in a straight linee run, which straightened out

r sterns than tonging boats, a


13/31

The use of the sharpie began to spreaearly as 1855 sharpies of the 100-bHaven and Bridgeport, and by 1857Sloop-rigged sharpies 24 to 28 feeconstruction and most of its basic d

extensively used in the small oysterthe eastern Sound. In some areas thiand became known as the "flattie,Chesapeake Bay, and

North Car

The sharpie's rapid spread in use cagraceful appearance, and rather astoweather, it was by chance rather tdiscovered. There is a case on recorBranford, Connecticut, during a seve

However, efforts to improve on the sthe other advantages of the original tand heavy rigs. Because the stabilitcabin trunks and attendant furniturnecessary on sharpie yachts also a

d to other areas almost immediately after itsshel class were being built on Long Islanthere were two-masted, 150-bushel sharpiet long and retaining the characteristics ofsign features, but with some increase in pr

isheries west of New Haven. There were alss modification of the sharpie eventually dea type that was popular on the north sin Florida at Key

olina sharpie schooner hauled up for pain

be accounted for by its low cost, light draishing seaworthiness. Since oyster tongingan intent that the seaworthiness of thisd in which a tonging sharpie rescued the ce gale, after other boats had proved unable t

harpie resulted in the construction of boats tpe. This was particularly true of sharpies b

of the sharpie's shoal hull was limited, threduced the boat's safety potential. Win

fected speed, particularly in sailing to wi

appearance at New Haven. Asacross the Sound from New

s in lower New York Harbor.the New Haven sharpies in

portion[Pg 145]ate beam, were

o a few sloop-type sharpies ineloped its own characteristicsore of Long Island, on theWest and Tampa.

FIGURE 11.

ing.

t, speed, handiness under sail,as never carried on in heavy

ew Haven tonging boat wasew of a coasting schooner atapproach the wreck.

hat had neither the beauty norilt as yachts with large cabinse added weight of high, longage of the topside structuresdward. Hence, there was an


14/31

immediate trend toward the additiondisplacement and draft so that the susharpie yacht when under sail was gthe sailing of the boat, many of the ssize was theLucky, a half-model of

in 1855 from a model by Robert Fiscenterboard raised. According to firsweatherly because her centerboard w

[Pg 146]

North Caro

Kunhardt mentions the extraordinarand Stream. A large sharpie was rschooner is said to have averaged 16were said to have sailed in smootexaggerations, there is no doubt thasailing

of deadrise in the bottom of the yachts, a feaerstructure and rig could be better carried.

nerally less workable than the fishing sharparpie yachts had markedly increased beam.hich is in the Model Room of the New Yor

, was 51 feet long with a 13-foot beam; shethand reports, she was a satisfactory cruisers too small.

lina sharpie schooner converted to yacht,

sailing speed of some sharpies, as does cerported to have run 11 nautical miles in 3knots in 3 consecutive hours of sailing. To

water at speeds of 15 and 16 knots. At sharpies of the New Haven type were a

fishing

ure that sufficiently increasedecause of its large cabin, the

e. Although it was harmful toThe first sharpie yacht of anyYacht Club. TheLucky, built

rew 2 feet 10 inches with her, except that she was not very

FIGURE 12.

937.

tain correspondence inForest4 minutes, and a big sharpieging sharpies with racing rigsthough such reports may beong the fastest of American

boats.


15/31

Bow of North

Sharpie builders in New Haven veryhull was upside down. First, the sidinner stem was built, and the sides n

made and put in place and the boat"Spanish windlass" of rope or chainside planking and fastened, then thethe centerline. Next, the upper and lPlank extensions of the keelson weremade and fitted with the keelson strwere

Carolina sharpie schooner showing head

arly developed a "production" method. In ths[Pg 147]were assembled and the plankingiled to it, after which the bulkhead and a fe

's sides bent to the desired curve in plainas used. The chine pieces were inserted in

keelson was made and placed in notches inwer stern frames were made and secured, afitted, the bottom laid, and the boat turnedcture, but sometimes this was not done unt

FIGURE 13.

igging.

e initial stages of building, theand frames secured; then therough temporary molds were

iew. For bending the sides aotches in the molds inside thehe molds and bulkhead alongnd the stern staved vertically.over. Sometimes the case wasl the deck and inboard works

finished.


16/31

The entrance of a North Carolin

The son of Lester Rowe, a noted shahis father and two helpers to build atwo helpers built 31 sharpies. This wcutting and finishing of timber was d

In spite of Barnegat Bay's extensivepopular in that region, where a smallpunt-shaped, with its bow narrowerhalf-deck; and it was rigged with twsprit.[9]The garvey was as fast and ahad an economic advantage over thesameload on[Pg 148]shorter length.a "scow" that prevented it fro

a sharpie schooner and details of her shar

scarphs in plank.

pie builder at New Haven, told me, in 1925,sharpie, hull and spars, in 6 working days, aas at a time after power saws and planers hane at a mill, from patterns.

oyster beds and its proximity to New Hasailing scow known as the "garvey" was alrhan the stern; it had a sledlike profile with

spritsails, each with a moderate peak to ths well suited to oyster tonging as the sharpi

ew Haven boat because it was a little cheaprobably it was the garvey's relative unattract

competing with the sharpie in area

FIGURE 14.

lines and planking. Note

that it was not uncommon ford that one year his father andcome into use, and the heavy

en, the sharpie never becameady in favor. The garvey wasoderately flaring sides and a

e head and the usual diagonale, if not so handsome; also, iter to build and could carry theveness and the fact that it wass outside of New Jersey.


17/31

Midbody and stern of a North Ca

Th

The sharpie appeared on the Chesacharacteristics very long. Prior to herwhich the log canoe appears to havetonging. There is a tradition that soadrift on the Bay near Tangier Islanadded later. This tradition is supporte

Until 20 years ago Tangier Island sknarrow, straight-stem, round-stern, t

large number of boat types suitableHaven sharpie in a recognizable formany parts of the Chesapeake. Boatflat bottom, a sharply raking transomleg-of-mutton sails. Sprits were usejib. The rudder was outboard on a sk24-to 28-foot range were half-decked

In the late 1880's or early 1890's thethe flat-bottom almost entirely, assurvive, although a few 18-foot skiffs

Characteristics of the large flat-bottothe narrow beam of this skiff, the st

olina sharpie schooner showing planking,

e Chesapeake Bay Sharpie

peake Bay in the early 1870's, but she diappearance on the Bay, the oyster fishery t

been the most popular. Some flat-bottomedetime in the early 1870's a New Haven sh

d. Some copies of the Frolicwere made lod by certain circumstantial evidence.

ffs certainly resembled the sharpie above tho-masted craft, although their bottoms were

or oyster fishery on the Bay probably prev. After the Civil War, however, a large sailiof this type had a square stern, a curved st

, and a center board of the "daggerboard" forinstead of booms, and there was sometimeg. These skiffs ranged in length from about; the smaller ones were entirely open.

V-bottomed hull became extremely populart Tangier Island. Hence, very few flat-botare still in use.

med Chesapeake Bay skiff are shown in figaightness of both ends of its bottom cambe

FIGURE 15.

molding, and other details.

d not retain her New Havenere had used several boats, ofskiffs had also been used forrpie namedFrolicwas foundcally, and modifications were

e waterline, being long, ratherV-shaped rather than flat. The

nted the adoption of the Newg skiff did become popular inm in profile, a strong flare, a

m. They were rigged with twos a short bowsprit, carrying a8 feet to 28 feet. Those in the

on the Chesapeake, replacingtomed boats or their remains

re 4. While it is possible that, and its rig show some New


18/31

Haven sharpie influence, these charamany of the Bay sharpies had any rChesapeake flat-bottoms constitutedIsland area, it is not evident that thein fo

Stern of a North Carolina sharpi

Schooner-rigged sharpies developedmodified versions of the New Havethan New Haven sharpies, and a feconstruction proved weak in boats mwere produced by edge-fastening theTransverse tie rods set up with turnbboats that were patterned after her inlarge V-bottomed sailing craft on Ch

The sharpie schooner seems to haverig alone appealed to Bay sailors,employed on the Bay, only the schoosharpies. Bay sharpie schooners oftethe sharpie was relatively small, usua

Since the 1880's the magazineForeshave been the media by which ideasbeen transmitted. By studying suchprogress in boat design being mad

publications that the daggerboard cawhole V-bottom design became popu

cteristics are so similar to those of the flatiral relation to the New Haven boats. As inda distinct type of skiff. Except[Pg 149]for tay skiffs were influenced by the New Hav

m at

schooner showing planking, staving, mol

on Long Island Sound as early as 1870, anhull in basic design and construction. Theswere employed as oyster dredges. After a

uch over 50 feet. However, strong sharpie hsides and by using more tie rods than wereckles were first used on the New Haven shaother areas. Because of this influence, such tsapeake Bay.

een more popular on the Chesapeake Bay thwho were experienced with schooners. Oer can be said to have retained much of thewere fitted with wells and used as terrapin s

lly being about 30 to 38 feet over-all.

t and Streamand, later, magazines such asconcerning all kinds of watercraft from pleaeriodicals, Chesapeake Bay boatbuilders min new yachts. In fact, it may have bee

e to replace the pivoted centerboard in Cheslar so rapidly in the Bay area.

n skiff that it is doubtful thaticated by figures 5 and 7, theose skiffs used in the Tangiern sharpie to any great degree,

least.

FIGURE 16.

ing, and balanced rudder.

their hulls were only slightlye boats were, however, largerime it was found that sharpieulls of great length eventuallyrequired by a smaller sharpie.

pie, and they were retained onie rods finally appeared on the

an on Long Island Sound. Thef all the flat-bottomed skiffsappearance of the Connecticutmacks (fig. 7). As a schooner,

Outing,Rudder, and Yachtingsure boats to work boats haveanaged to keep abreast of thebecause of articles in these

apeake Bay skiffs and that the


19/31

T

In the 1870's the heavily populated othe Civil War that region had becpredominating in the area was a mohead, a centerboard, and waterwaysboat" or "Croatan boat," had beenAlthough it was seaworthy and fastbecause of its high fr

Deck of a North Carolina sharpie

Because the oyster grounds in the Cathe standard 34-to 36-foot New Havbegun to develop characteristics of iwith a cabin. In all other respects ththe Carolina boats were square-sterne

Most Carolina sharpies were from 40had a cuddy or trunk cabin aft, andmodel that was built to test the desi

e North Carolina Sharpie

yster beds of the North Carolina Sounds beme a depressed area with little boatbuildified yawl that had sprits for mainsail and tlong the sides. This type of craft, known as

developed in the vicinity of Roanoke Islander sail, this boat was not particularly we

eeboard and lack of working

chooner showing U-shaped main hatch ty

Carolina Sounds.

rolina Sounds were some distance from theen sharpie were desirable; and by 1881 thes own. These large sharpies could be deckNorth Carolina sharpie closely resembled td, but, as at New Haven, the round stern app

to 45 feet long. Some had a cramped forecafew had trunk cabins forward and aft. Fign before the construction of a full-sized bo

an to be exploited. Followinging industry. The small boatpsail, a jib set up to the stemthe[Pg 150]"Albemarle Soundd for the local shad fishery.l suited for the oyster fishery

deck for tonging.

FIGURE 17. pical of sharpies used in the

arket ports, boats larger thanCarolina Sounds sharpie hadd and, when necessary, fittedhe New Haven boat. Some ofarently was more popular.

stle under the foredeck, othersre 6 is a drawing of a riggedat was attempted.[10]The 1884


20/31

North Carolina sharpie shown in this plan has two small cuddies; it also has the U-shaped main hatch typical ofthe Carolina sharpie. It appears that the clubs shown at the ends of the sprits were very often used on theCarolina sharpies, but they were rarely used on the New Haven tongers except when the craft were rigged forracing. The Carolina Sounds sharpie shown under sail in figure 8 is from 42 to 45 feet long and has no cuddy.

The Carolina Sounds sharpies retained the excellent sailing qualities of the New Haven type and were wellfinished. The two-sail, two-mast New Haven rig was popular with tongers, but the schooner-rigged sharpie thatsoon developed (figs. 9, 11-18) was preferred for dredging. It was thought that a schooner rig allowed moreadjustment of sail area and thus would give better handling of the boat under all weather condi[Pg 151]tions. Thiswas important because oyster dredging could be carried on in rough weather when tonging would beimpractical. Like the Maryland terrapin smack, the Carolina sharpie schooner adhered closely to New Havenprinciples of design and construction. However, Carolina sharpie schooners were larger than terrapin smacks,having an over-all length of from 40 to 52 feet. These schooners remained in use well into the 20th century and,in fact, did not go out of use entirely until about 1938. In the 1920's and 1930's many such boats were convertedto yachts. They were fast under sail and very stiff, and with auxiliary engines they were equally as fast andrequired a relatively small amount of power. Large Carolina sharpie schooners often made long coastingvoyages, such as between New York and the West Indies.


21/31

Deck of a North Carolina shar

The Carolina Sounds area was the lathe sharpie was introduced into Florithat had been built for him by Brosharpies were introduced in Floridaschooners were used to carry fish tHaven

ie schooner under sail showing pump box

afterhouse.

harpies in Other Areas

t place in which the sharpie was extensivela by the late R. M. Munroe when he took town of Tottenville, Staten Island. Afterwar. On the Gulf Coast at Tampa two-maste

market, but they had only very faint res

FIGURE 18.

near rail and portion of

employed. However, in 1876Biscayne Bay a sharpie yacht

ds various types of modified[Pg 152] sharpies and sharpiemblance to the original New

boat.


22/31

Sharpie yacht Pelican built in 18

The sharpie also appeared in theindependent of the New Haven typflatiron skiff.

The sharpie yacht was introduced on

forForest and Streamunder the penmost of the characteristics of the Nerigs, some highly experimental. Aproduce on the lake, but most of the s

The use of the principles of flatiron sthe Chesapeake Bay a number of ssingle leg-of-mutton sail, were in u

5 for Florida waters. She was a successful

(Photo courtesy Wirth Munroe.)

reat Lakes area, but here its development. It is possible that the Great Lakes sharpi

Lake Champlain in the late 1870's by Rev.

ame of "Adirondack Murray." The hull of tHaven hull, but the Champlain boats werew commercial sharpies were built at Burharpies built there were yachts.

ouble-Ended Sharpies

kiff design in sharp-stern, or "double-ended,all, double-ended sailing skiffs, usually fise in the 1880's. It is doubtful, however,

FIGURE 19.

shoal-draft sailing cruiser.

seems to have been entirelydevolved from the common

W. H. H. Murray, who wrote

e Champlain sharpie retainedfitted with a wide variety ofington, Vermont, for hauling

" boats has been common. Onted with a centerboard and ahat these skiffs had any real


23/31

relationship to the New Haven sharpBay in colonial times.

The "cabin skiff," a double-ended,also in use on the Bay in the 1880'swere over 3 inches thick,[Pg 153]laidor "sleepers" placed near the ends. Tslight fore-and-aft camber to the boremoved, and the centerboard case fiflatiron skiff in midsection form, hathe Chesapeake log cano

R. M. Munroe built double-ended sh

Bay and Palm Beach. Although Munwere markedly modified and almost

ie. They may have developed from the "thr

alf-decked, trunk-cabin boat with a long he. This boat, which was rigged like a bugeyfore-and-aft, and edge-bolted. The entire bo

he sides were bevelled, and heavy stones wttom. The sides, washboards, and end dectted. In spite of its slightly cambered flat bono real relation to the New Haven sharpie;

e, for which it was an

FI

yacht of about 1890.

rpies in Florida, and one of these was used t

roe's double-enders were certainly related toll were yachts.

e-plank" canoe[11]used on the

ad and a cuddy forward, was, had a bottom of planks thatttom was made on two blocksre placed amidships to give as were then built, the stonesttom, this boat, though truly ait probably owed its origin to

inexpensive substitute.

URE 20.Florida sharpie

carry mail between Biscayne

the New Haven sharpie, they


24/31

A schooner-rigged, double-ended sharpie was used in the vicinity of San Juan Island, Washington, in the1880's, but since the heels of the stem and stern posts were immersed it is very doubtful that this sharpie wasrelated in any way to the New Haven boats.

[Pg 154]

Modern Sharpie Development

The story of the New Haven sharpie presents an interesting case in the history of the development of smallcommercial boats in America. As has been shown, the New Haven sharpie took only about 40 years to reach avery efficient stage of development as a fishing sailboat. It was economical to build, well suited to its work, afast sailer, and attractive in appearance.

When sailing vessels ceased to be used by the fishing industry, the sharpie was almost forgotten, but some slightevidence of its influence on construction remains. For instance, transverse tie rods are used in the largeChesapeake Bay "skipjacks," and Chesapeake motorboats still have round, vertically staved sterns, as do the"Hatteras boats" used on the Carolina Sounds. But the sharpie hull form has now almost completely disappearedin both areas, except in a few surviving flat-bottomed sailing skiffs.

Recently the flat-bottomed hull has come into use in small, outboard-powered commercial fishing skiffs, but,unfortunately, these boats usually are modeled after the primitive flatiron skiff and are short in length.

The New Haven sharpie proved that a long, narrow hull is most efficient in a flat-bottomed boat, but noutilization has yet been made of its design as the basis for the design of a modern fishing launch.

U.S.GOVERNMENTP RINTINGOFFICE: 1961

For sale by the Superintendent of Documents, U.S. Government Printing Office Washington 25, D.C. Price 25 cents

Footnotes

[1]Forest and Stream, January 23, 1879, vol. 11, no. 25, p. 504.

[2]Forest and Stream, January 30, 1879, vol. 11, no. 26, p. 500.

[3]Henry Hall, Special Agent, 10th U.S. Census, Report on the Shipbuilding Industry of theUnited States, Washington, 1880-1885, pp. 29-32.

[4]Howard I. Chapelle,American Small Sailing Craft, New York, 1951, pp. 100-133, figs. 38-48.

[5]C. P. Kunhardt, Small Yachts: Their Design and Construction, Exemplified by the RulingTypes of Modern Practice, New York, 1886 (rev. ed., 1891, pp. 287-298).

[6]Hall, op. cit.(footnote 3), pp. 30, 32.

[7]Kunhardt, op. cit.(footnote 5), pp. 225, 295.
http://www.gutenberg.org/files/29285/29285-h/29285-h.htmhttp://www.gutenberg.org/files/29285/29285-h/29285-h.htmhttp://www.gutenberg.org/files/29285/29285-h/29285-h.htmhttp://www.gutenberg.org/files/29285/29285-h/29285-h.htmhttp://www.gutenberg.org/files/29285/29285-h/29285-h.htmhttp://www.gutenberg.org/files/29285/29285-h/29285-h.htmhttp://www.gutenberg.org/files/29285/29285-h/29285-h.htmhttp://www.gutenberg.org/files/29285/29285-h/29285-h.htmhttp://www.gutenberg.org/files/29285/29285-h/29285-h.htmhttp://www.gutenberg.org/files/29285/29285-h/29285-h.htmhttp://www.gutenberg.org/files/29285/29285-h/29285-h.htmhttp://www.gutenberg.org/files/29285/29285-h/29285-h.htmhttp://www.gutenberg.org/files/29285/29285-h/29285-h.htmhttp://www.gutenberg.org/files/29285/29285-h/29285-h.htm


25/31

[8]Full-scale examples of sharpies may be seen at the Mariners' Museum, Newport News,Virginia, and at the Mystic Marine Museum, Mystic, Connecticut.

[9]The foremast of the garvey was the taller and carried the larger sail. At one time garveyshad leeboards, but by 1850 they commonly had centerboards and either a skeg aft with arudder outboard or an iron-stocked rudder, with the stock passing through the stern overhang

just foreward of the raking transom. The garvey was commonly 24 to 26 feet long with abeam on deck of 6 feet 4 inches to 6 feet 6 inches and a bottom of 5 feet to 5 feet 3 inches.

[10]In building shoal draft sailing vessels, this practice was usually possible and often provedhelpful. In the National Watercraft Collection at the United States National Museum there is arigged model of a Piscataqua gundalow that was built for testing under sail beforeconstruction of the full-scale vessel.

[11]A primitive craft made of three wide planks, one of which formed the entire bottom.

Transcriber's Note

Printer's errors have been corrected, all other inconsistencies are as in the original. The author's spelling has beenmaintained.

End of the Project Gutenberg EBook of The Migrations of an American Boat Type, by

Howard I. Chapelle

*** END OF THIS PROJECT GUTENBERG EBOOK AMERICAN BOAT TYPE ***

***** This file should be named 29285-h.htm or 29285-h.zip *****

This and all associated files of various formats will be found in:

http://www.gutenberg.org/2/9/2/8/29285/

Produced by Colin Bell, Woodie4, Joseph Cooper and the

Online Distributed Proofreading Team at http://www.pgdp.net

Updated editions will replace the previous one--the old editions

will be renamed.

Creating the works from public domain print editions means that no

one owns a United States copyright in these works, so the Foundation

(and you!) can copy and distribute it in the United States without

permission and without paying copyright royalties. Special rules,set forth in the General Terms of Use part of this license, apply to

copying and distributing Project Gutenberg-tm electronic works to

protect the PROJECT GUTENBERG-tm concept and trademark. Project

Gutenberg is a registered trademark, and may not be used if you

charge for the eBooks, unless you receive specific permission. If you

do not charge anything for copies of this eBook, complying with the

rules is very easy. You may use this eBook for nearly any purpose

such as creation of derivative works, reports, performances and

research. They may be modified and printed and given away--you may do

practically ANYTHING with public domain eBooks. Redistribution is

subject to the trademark license, especially commercial

redistribution.
http://www.gutenberg.org/files/29285/29285-h/29285-h.htmhttp://www.gutenberg.org/files/29285/29285-h/29285-h.htmhttp://www.gutenberg.org/files/29285/29285-h/29285-h.htmhttp://www.gutenberg.org/files/29285/29285-h/29285-h.htmhttp://www.gutenberg.org/files/29285/29285-h/29285-h.htmhttp://www.gutenberg.org/files/29285/29285-h/29285-h.htmhttp://www.gutenberg.org/files/29285/29285-h/29285-h.htm


26/31

*** START: FULL LICENSE ***

THE FULL PROJECT GUTENBERG LICENSE

PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK

To protect the Project Gutenberg-tm mission of promoting the free

distribution of electronic works, by using or distributing this work

(or any other work associated in any way with the phrase "Project

Gutenberg"), you agree to comply with all the terms of the Full Project

Gutenberg-tm License (available with this file or online at

http://gutenberg.org/license).

Section 1. General Terms of Use and Redistributing Project Gutenberg-tm

electronic works

1.A. By reading or using any part of this Project Gutenberg-tm

electronic work, you indicate that you have read, understand, agree to

and accept all the terms of this license and intellectual property

(trademark/copyright) agreement. If you do not agree to abide by all

the terms of this agreement, you must cease using and return or destroyall copies of Project Gutenberg-tm electronic works in your possession.

If you paid a fee for obtaining a copy of or access to a Project

Gutenberg-tm electronic work and you do not agree to be bound by the

terms of this agreement, you may obtain a refund from the person or

entity to whom you paid the fee as set forth in paragraph 1.E.8.

1.B. "Project Gutenberg" is a registered trademark. It may only be

used on or associated in any way with an electronic work by people who

agree to be bound by the terms of this agreement. There are a few

things that you can do with most Project Gutenberg-tm electronic works

even without complying with the full terms of this agreement. See

paragraph 1.C below. There are a lot of things you can do with Project

Gutenberg-tm electronic works if you follow the terms of this agreement

and help preserve free future access to Project Gutenberg-tm electronic

works. See paragraph 1.E below.

1.C. The Project Gutenberg Literary Archive Foundation ("the Foundation"

or PGLAF), owns a compilation copyright in the collection of Project

Gutenberg-tm electronic works. Nearly all the individual works in the

collection are in the public domain in the United States. If an

individual work is in the public domain in the United States and you are

located in the United States, we do not claim a right to prevent you from

copying, distributing, performing, displaying or creating derivative

works based on the work as long as all references to Project Gutenberg

are removed. Of course, we hope that you will support the Project

Gutenberg-tm mission of promoting free access to electronic works by

freely sharing Project Gutenberg-tm works in compliance with the terms ofthis agreement for keeping the Project Gutenberg-tm name associated with

the work. You can easily comply with the terms of this agreement by

keeping this work in the same format with its attached full Project

Gutenberg-tm License when you share it without charge with others.

1.D. The copyright laws of the place where you are located also govern

what you can do with this work. Copyright laws in most countries are in

a constant state of change. If you are outside the United States, check

the laws of your country in addition to the terms of this agreement

before downloading, copying, displaying, performing, distributing or

creating derivative works based on this work or any other Project

Gutenberg-tm work. The Foundation makes no representations concerning

the copyright status of any work in any country outside the United

States.


27/31

1.E. Unless you have removed all references to Project Gutenberg:

1.E.1. The following sentence, with active links to, or other immediate

access to, the full Project Gutenberg-tm License must appear prominently

whenever any copy of a Project Gutenberg-tm work (any work on which the

phrase "Project Gutenberg" appears, or with which the phrase "Project

Gutenberg" is associated) is accessed, displayed, performed, viewed,

copied or distributed:

This eBook is for the use of anyone anywhere at no cost and with

almost no restrictions whatsoever. You may copy it, give it away or

re-use it under the terms of the Project Gutenberg License included

with this eBook or online at www.gutenberg.org

1.E.2. If an individual Project Gutenberg-tm electronic work is derived

from the public domain (does not contain a notice indicating that it is

posted with permission of the copyright holder), the work can be copied

and distributed to anyone in the United States without paying any fees

or charges. If you are redistributing or providing access to a work

with the phrase "Project Gutenberg" associated with or appearing on the

work, you must comply either with the requirements of paragraphs 1.E.1through 1.E.7 or obtain permission for the use of the work and the

Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or

1.E.9.

1.E.3. If an individual Project Gutenberg-tm electronic work is posted

with the permission of the copyright holder, your use and distribution

must comply with both paragraphs 1.E.1 through 1.E.7 and any additional

terms imposed by the copyright holder. Additional terms will be linked

to the Project Gutenberg-tm License for all works posted with the

permission of the copyright holder found at the beginning of this work.

1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm

License terms from this work, or any files containing a part of this

work or any other work associated with Project Gutenberg-tm.

1.E.5. Do not copy, display, perform, distribute or redistribute this

electronic work, or any part of this electronic work, without

prominently displaying the sentence set forth in paragraph 1.E.1 with

active links or immediate access to the full terms of the Project

Gutenberg-tm License.

1.E.6. You may convert to and distribute this work in any binary,

compressed, marked up, nonproprietary or proprietary form, including any

word processing or hypertext form. However, if you provide access to or

distribute copies of a Project Gutenberg-tm work in a format other than

"Plain Vanilla ASCII" or other format used in the official version

posted on the official Project Gutenberg-tm web site (www.gutenberg.org),you must, at no additional cost, fee or expense to the user, provide a

copy, a means of exporting a copy, or a means of obtaining a copy upon

request, of the work in its original "Plain Vanilla ASCII" or other

form. Any alternate format must include the full Project Gutenberg-tm

License as specified in paragraph 1.E.1.

1.E.7. Do not charge a fee for access to, viewing, displaying,

performing, copying or distributing any Project Gutenberg-tm works

unless you comply with paragraph 1.E.8 or 1.E.9.

1.E.8. You may charge a reasonable fee for copies of or providing

access to or distributing Project Gutenberg-tm electronic works provided

that

- You pay a royalty fee of 20% of the gross profits you derive from


28/31

the use of Project Gutenberg-tm works calculated using the method

you already use to calculate your applicable taxes. The fee is

owed to the owner of the Project Gutenberg-tm trademark, but he

has agreed to donate royalties under this paragraph to the

Project Gutenberg Literary Archive Foundation. Royalty payments

must be paid within 60 days following each date on which you

prepare (or are legally required to prepare) your periodic tax

returns. Royalty payments should be clearly marked as such and

sent to the Project Gutenberg Literary Archive Foundation at the

address specified in Section 4, "Information about donations to

the Project Gutenberg Literary Archive Foundation."

- You provide a full refund of any money paid by a user who notifies

you in writing (or by e-mail) within 30 days of receipt that s/he

does not agree to the terms of the full Project Gutenberg-tm

License. You must require such a user to return or

destroy all copies of the works possessed in a physical medium

and discontinue all use of and all access to other copies of

Project Gutenberg-tm works.

- You provide, in accordance with paragraph 1.F.3, a full refund of anymoney paid for a work or a replacement copy, if a defect in the

electronic work is discovered and reported to you within 90 days

of receipt of the work.

- You comply with all other terms of this agreement for free

distribution of Project Gutenberg-tm works.

1.E.9. If you wish to charge a fee or distribute a Project Gutenberg-tm

electronic work or group of works on different terms than are set

forth in this agreement, you must obtain permission in writing from

both the Project Gutenberg Literary Archive Foundation and Michael

Hart, the owner of the Project Gutenberg-tm trademark. Contact the

Foundation as set forth in Section 3 below.

1.F.

1.F.1. Project Gutenberg volunteers and employees expend considerable

effort to identify, do copyright research on, transcribe and proofread

public domain works in creating the Project Gutenberg-tm

collection. Despite these efforts, Project Gutenberg-tm electronic

works, and the medium on which they may be stored, may contain

"Defects," such as, but not limited to, incomplete, inaccurate or

corrupt data, transcription errors, a copyright or other intellectual

property infringement, a defective or damaged disk or other medium, a

computer virus, or computer codes that damage or cannot be read by

your equipment.

1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right

of Replacement or Refund" described in paragraph 1.F.3, the Project

Gutenberg Literary Archive Foundation, the owner of the Project

Gutenberg-tm trademark, and any other party distributing a Project

Gutenberg-tm electronic work under this agreement, disclaim all

liability to you for damages, costs and expenses, including legal

fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT

LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE

PROVIDED IN PARAGRAPH F3. YOU AGREE THAT THE FOUNDATION, THE

TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE

LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR

INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH

DAMAGE.

1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a


29/31

defect in this electronic work within 90 days of receiving it, you can

receive a refund of the money (if any) you paid for it by sending a

written explanation to the person you received the work from. If you

received the work on a physical medium, you must return the medium with

your written explanation. The person or entity that provided you with

the defective work may elect to provide a replacement copy in lieu of a

refund. If you received the work electronically, the person or entity

providing it to you may choose to give you a second opportunity to

receive the work electronically in lieu of a refund. If the second copy

is also defective, you may demand a refund in writing without further

opportunities to fix the problem.

1.F.4. Except for the limited right of replacement or refund set forth

in paragraph 1.F.3, this work is provided to you 'AS-IS' WITH NO OTHER

WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO

WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE.

1.F.5. Some states do not allow disclaimers of certain implied

warranties or the exclusion or limitation of certain types of damages.

If any disclaimer or limitation set forth in this agreement violates the

law of the state applicable to this agreement, the agreement shall beinterpreted to make the maximum disclaimer or limitation permitted by

the applicable state law. The invalidity or unenforceability of any

provision of this agreement shall not void the remaining provisions.

1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the

trademark owner, any agent or employee of the Foundation, anyone

providing copies of Project Gutenberg-tm electronic works in accordance

with this agreement, and any volunteers associated with the production,

promotion and distribution of Project Gutenberg-tm electronic works,

harmless from all liability, costs and expenses, including legal fees,

that arise directly or indirectly from any of the following which you do

or cause to occur: (a) distribution of this or any Project Gutenberg-tm

work, (b) alteration, modification, or additions or deletions to any

Project Gutenberg-tm work, and (c) any Defect you cause.

Section 2. Information about the Mission of Project Gutenberg-tm

Project Gutenberg-tm is synonymous with the free distribution of

electronic works in formats readable by the widest variety of computers

including obsolete, old, middle-aged and new computers. It exists

because of the efforts of hundreds of volunteers and donations from

people in all walks of life.

Volunteers and financial support to provide volunteers with the

assistance they need, are critical to reaching Project Gutenberg-tm's

goals and ensuring that the Project Gutenberg-tm collection willremain freely available for generations to come. In 2001, the Project

Gutenberg Literary Archive Foundation was created to provide a secure

and permanent future for Project Gutenberg-tm and future generations.

To learn more about the Project Gutenberg Literary Archive Foundation

and how your efforts and donations can help, see Sections 3 and 4

and the Foundation web page at http://www.pglaf.org.

Section 3. Information about the Project Gutenberg Literary Archive

Foundation

The Project Gutenberg Literary Archive Foundation is a non profit

501(c)(3) educational corporation organized under the laws of the

state of Mississippi and granted tax exempt status by the Internal

Revenue Service. The Foundation's EIN or federal tax identification


30/31

number is 64-6221541. Its 501(c)(3) letter is posted at

http://pglaf.org/fundraising. Contributions to the Project Gutenberg

Literary Archive Foundation are tax deductible to the full extent

permitted by U.S. federal laws and your state's laws.

The Foundation's principal office is located at 4557 Melan Dr. S.

Fairbanks, AK, 99712., but its volunteers and employees are scattered

throughout numerous locations. Its business office is located at

809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email

[email protected]. Email contact links and up to date contact

information can be found at the Foundation's web site and official

page at http://pglaf.org

For additional contact information:

Dr. Gregory B. Newby

Chief Executive and Director

[email protected]

Section 4. Information about Donations to the Project Gutenberg

Literary Archive Foundation

Project Gutenberg-tm depends upon and cannot survive without wide

spread public support and donations to carry out its mission of

increasing the number of public domain and licensed works that can be

freely distributed in machine readable form accessible by the widest

array of equipment including outdated equipment. Many small donations

($1 to $5,000) are particularly important to maintaining tax exempt

status with the IRS.

The Foundation is committed to complying with the laws regulating

charities and charitable donations in all 50 states of the United

States. Compliance requirements are not uniform and it takes a

considerable effort, much paperwork and many fees to meet and keep up

with these requirements. We do not solicit donations in locations

where we have not received written confirmation of compliance. To

SEND DONATIONS or determine the status of compliance for any

particular state visit http://pglaf.org

While we cannot and do not solicit contributions from states where we

have not met the solicitation requirements, we know of no prohibition

against accepting unsolicited donations from donors in such states who

approach us with offers to donate.

International donations are gratefully accepted, but we cannot make

any statements concerning tax treatment of donations received from

outside the United States. U.S. laws alone swamp our small staff.

Please check the Project Gutenberg Web pages for current donation

methods and addresses. Donations are accepted in a number of other

ways including checks, online payments and credit card donations.

To donate, please visit: http://pglaf.org/donate

Section 5. General Information About Project Gutenberg-tm electronic

works.

Professor Michael S. Hart is the originator of the Project Gutenberg-tm

concept of a library of electronic works that could be freely shared

with anyone. For thirty years, he produced and distributed Project

Gutenberg-tm eBooks with only a loose network of volunteer support.


31/31

Project Gutenberg-tm eBooks are often created from several printed

editions, all of which are confirmed as Public Domain in the U.S.

unless a copyright notice is included. Thus, we do not necessarily

keep eBooks in compliance with any particular paper edition.

Most people start at our Web site which has the main PG search facility:

http://www.gutenberg.org

This Web site includes information about Project Gutenberg-tm,

including how to make donations to the Project Gutenberg Literary

Archive Foundation, how to help produce our new eBooks, and how to

subscribe to our email newsletter to hear about new eBooks.